Moments.Memoires

sábado, julho 22, 2017

Call Again - “On Friday 21 July 2017 I will be walking somewhere in the South of France. Call me between 13.00 and 14.00 (CEST). I will not answer your call but instead I will make a photo of what I am looking at on that specific moment. I will then send this photo to the number that showed up on my phone. To you.” – Frans Van Lent

between the digital and emotion, a system of four present bodies within the limited space, expanded by writing of presences that flood the screen - characters in motion -. A translation process back and forth, in overlapping transformation. As #4 move in (dis)placement, role playing, agency on a mutable system of comprehension. Gathering, a communion, an electronic communion where (we) become together we intersect one another with words and gestures. a latent restlessness of syncopated movement. Dance, move leading to speech, to sound, to coded language.

Seances presents a new way of experiencing film narrative, framed through the lens of loss. In a technical feat of data-driven cinematic storytelling, films are dynamically assembled in never-to-be-repeated configurations. Each exists only in the moment, with no pausing, scrubbing or sharing permitted, offering the audience one chance to see this film before it disappears.

Yolocaust is a project by Israeli satirist and author Shahak Shapira that explores our commemorative culture by combining selfies from the Holocaust Memorial in Berlin with footage from Nazi extermination camps. The selfies were found on Facebook, Instagram, Tinder and Grindr. Comments, hashtags and “Likes” that were posted with the selfies are also included.

About 10,000 people visit the Memorial to the Murdered Jews of Europe every day. Many of them take goofy pictures, jump, skate or bike on the 2,711 concrete slabs of the 19,000 m² large structure.

The exact meaning and role of the Holocaust Memorial are controversial. To many, the grey stelae symbolize gravestones for the 6 Million Jews that were murdered and buried in mass graves, or the grey ash to which they were burned to in the death camps.

Bruce Nauman Cruising to Drake on the Block (2010) is a very public and private joke all at once. Yes, it is playful and supposed to make you laugh. Yet, its titling and questioning of what role “context” and “language” play in reading physical movement, it is also about space, about sexuality, about the parading of ones gender, toeing the line between public and private. Nauman made Walking in an Exaggerated Manner around the Perimeter of a Square (1967-68) and it rocked because it was contrapposto in motion, it was providing a new vehicle for sculpture’s S Curve. It was deeply art historical. Yet, it was also about dance, and exercise, and, contextualized in its era, it sprung out of a period of time where radical performance was gaining momentum. That piece, redone as public sculpture, or within public space, could very well be just a guy shaking his booty to Drake as he goes for his morning walk. What if that conversation could take place? What would it sound like—look like?

“If it is taken to be a solution of how to educate Generation Z and the others which will follow, then we are mistaking a painkiller for a cure. The real headache is not the how. Since the late eighties we have become enthusiastic about MOOs (text-based online virtual reality systems for multiple users connected at the same time), literary hypertexts, glove-and-goggle VR (virtual realities), HyperCard, Second Life, and now MOOCs (massive open online courses). More fashions and further acronyms will certainly follow. Yet the real headache is the what. (…) There is no clear and fixed answer to the educational what-question in hyperhistorical societies. Not only because we have never been here before, but also because, as in the past, the answer still depends on the answer to another question: what education is for.”

How does it feel to share an interface with eyes closed and no talking?

I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt. As if you were familiar to me - I never met you, but still, apparently you became reassuring, close. (…) Dissolved I felt. Maybe even empty. Certainly destabilized. – Annie Abrahams @e-stranger

This is where I feel that this is not about being mindful, or meditating and rather about sensing and embodying and being present. And in this state of being present we may feel connected to others or we may not– if we are not, then what happens in that isolation? – Lisa Parra @parralis

The “silence” gave space to the sounds of animals, objects and machines. Close to the end I felt that had actually entered the space that us three were sharing together with others. (…) By closing our eyes we’re stripped to just ‘being’, following the rules of not speaking and not looking we are left in a place of communitary lonesomeness that continues to define our everyday world of infinite information and surveillance. – Daniel Pinheiro @daniel-pinheiro

Distant Feeling(s) #3 is part of the encounters between Annie Abrahams, Lisa Parra and Daniel Pinheiro. The 15minutes experiment took place online and was exhibited as part of Visions in the Nunnery. Participants were invited to join either at The Nunnery gallery (London) or remotely using the conference meeting software zoom.us.

As the world grows into a larger networked system, allowing ourselves to share a moment of intimacy with strangers is becoming less probable as we find ourselves immersed in a culture where the sense of time is shifting towards an invisible fastness. It was about acknowledging that system, that fabric, the technological nervous system that became present through the silence of those participating.

Being in space means to establish diverse relationships with the things that surround our bodies. - Deleuze

As distributed digital entities we become part of an intertwined body that is whole by combining different parts of our extended selves. Telematic culture means, in short, that we do not think, see, or feel in isolation (Roy Ascott) and therefore this electronic communion is built out of the relationships that are established when we are ‘together’ and this ‘togetherness’ comes out of a suspension of disbelief*, that in this digital sphere can be the capacity extending proprioception itself – the way that we recognize and position ourselves within this context.

The essence of the interface is its potential flexibility; it can accept and deliver images both fixed and in movement, sounds constructed, synthesised, or sampled, texts written and spoken. It can be heat sensitive, body responsive, environmentally aware. It can respond to the tapping of feet, the dancer’s arabesque, the direction of a viewer’s gaze. It not only articulates a physical environment with movement, sound, or light; it is an environment, an arena of dataspace in which a distributed art of the human/computer symbiosis can be acted out, the issue of its cybernetic content.

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eu+uma frase

Born in Venezuela. Lives and works in Portugal where he graduated in Theater in 2008. Works as a video-editor, copy-editor, performer, visual artist both in individual and collaboration works. He highlights his work as a video-artist, where he develops works in the field of transmedia, video, net and telematic art. In 2011 was selected to be part of the Portuguese Internship Program INOV-ART, working as an intern and resident artist at CultureHub, Inc (New York), having developed work, in partnership, between 2012 and 2013 within his artistic practice.